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All Journal Jurnal JSIKA Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Catharsis JURNAL KEPEMIMPINAN DAN PENGURUSAN SEKOLAH JOIV : International Journal on Informatics Visualization Jurnal Penelitian Pertanian Tanaman Pangan AL-ATHFAL : JURNAL PENDIDIKAN ANAK Indonesian Journal of Cardiology Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora (KAGANGA) Journal of Education Technology Gelar : Jurnal Seni Budaya Jurnal Seni Tari Jurnal Eduscience (JES) International Journal of Visual and Performing Arts Jurnal Kajian Ilmiah Jurnal Sistem Informasi Universitas Dinamika Jurnal Gramaswara: Jurnal Pengabdian kepada Masyarakat Indonesian Research Journal on Education Bharasumba Jurnal Multidispliner KONSELOR Profesi Pendidikan Dasar Proceeding Of International Conference On Education, Society And Humanity Jurnal Seni Tari Harmonia: Journal of Arts Research and Education
Agus Cahyono
Department Sendratasik, Semarang State University, Indonesia Sekaran Campus Gunungpati, Semarang 50229, Central Java, Indonesia
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemistry Computer Science & IT Economics, Econometrics & Finance Education Energy Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Medicine & Pharmacology Physics Public Health Social Sciences Transportation Other

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Journal : Catharsis

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The Change of Forms and the Value of the Dance performance of Barongan Risang Guntur Seto Guntaris, Endik; Cahyono, Agus; Utomo, Udi
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.27898

Abstract

Barongan Risang Guntur Seto dance is one of dances that has experienced a changing of form from spontaneous to organized performance since 2016. The management and the change done by Barongan Risang Guntur Seto artists have altered the simple values of traditional performing art to be a glamorous values or it is called gebyarby Blora people. The purpose of this research is to analyze and to describe the change of form and value of Barongan Risang Guntur Seto dance.Theoretically, this research used qualitative method with interdisciplinary approach of science, they are ethnochoreology and Arts Sociology. The technique of data collection was done by observation, interview and document study. The data validity checking used source triangulation. The data analysis was done by data reduction, data presentation, and conclusion. The results show that the chane of form and value of Barongan Risang Guntur Seto dance performance involves movement, music, property, stage, and lighting. The suggestion for artists of Barongan Risang Guntur Seto dance is to always active in renewing the dance in accordance to the era and to always be consistent in emphasizing the simplicity and family values as an identity of Blora people.
The Value of Srikandi Mustakaweni Act in Wayang Wong Bocah Tjipta Boedaja Residence Magelang Amsari, Uli; Cahyono, Agus; Hartono, Hartono
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.28462

Abstract

Wayang Wong Bocah in Tjipta Boedaja Residence is one of the performing arts filled with value and relevant to be inculcated for children. Wayang Wong Bocah is performed by children. The purpose of this research is to analyze and describe the inculcation of value through Wayang Wong Bocah performance with Srikandi Mustakaweni act. Qualitative method with ethno-choreology and arts education approaches were used in this research. The data were collected through observation, interview, and documentary study. The data were validated using investigators triangulation technique, and analyzed by discribing, discreening, interpreting, and evaluating. The result shows that inculcation of value for children can be done through plot and model performed by children. Plot helps them to learn about good or bad, while model helps them distinguish an exemplary behavior as shown by Srikandi who was responsible, and not exemplary behavior as shown by Mustakaweni who was dishonest. The values that appear in the story such as honesty, responsibility, curiosity, patriotism, peacefulness, and hard-work. It is concluded that those values can be the guidelines about good or bad for children. Those values are expected to be implemented in daily basis.
The Creativity Of Bedhaya Tunggal Jiwa Dance Creation In Grebeg Besar Ceremony In Demak Regency Setyaningrum, Ikha Sulis; Cahyono, Agus; Triyanto, Triyanto
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.29294

Abstract

Bedhaya Tunggal Jiwa dance presents in the Islamic dimension and gives a new nuance to a ceremony in Demak regency. This dance has different package from Bedaya dance in Kraton because it is adjusted to area and Demak society. The purpose of this research is to analyse how the the creativity of the creation of Bedhaya Tunggal Jiwa dance in Demak Regency. The method used was qualitative with ethnochoreology, Anthropology of Arts, and Sociology of Arts. The research data was collected by the technique of observation, interview, and document study. The technique of data validity used source triangulation. The data analysis technique that was used data reduction, data presentation and conclusion was done by describing the dance, understanding the the performance components, and doing interpretation. The results of the research were that the creator made a work through some steps, they are exploration, improvisation, evaluation, composition, and supported by creative factors, such as environment, facilities, skills, identity, originality, and appreciation.
The Process of Inheritace Ayu Mask Dance in Tanon Backwoods Purwati, Anik; Malarsih, Malarsih; Cahyono, Agus
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.30311

Abstract

This study aims to analyze the process of inheritance in Hamlet Tanon, especially the Mask Dance Ayu as a result of culture. This study uses the approach of cultural sociology. The data collection is done in three ways: observation, interview and documentation. The validity of the data using triangulation techniques and reviews of informants, with interactive data analysis. The results of the research that Inheritance Mask Dance Ayu in the Hamlet Tanon using nyantrik with imitation technique, where children make the observation that the input process the recorded memories cognitively, this observation phase brtujuan children can undergo a preliminary understanding of the concept of motion. Lumaksono come to the show arena, Sembahan ( Atur Sugeng), Atur Pambagyo, Minang (Silat), Pemuda Tanon , Olah Rogo And Lumaksono Muncur Beksan; and internalization directly in training and is intended for children pementasan.tahap can directly practice all memorized and dance with the correct technique; as well as the evaluation process is usually done by the parents of dancers nyantrik Mask Dance Ayu by providing intelligent feedback on their performances. The position of children who Nyantrik dancers behind the core, so that the apprentice dancer can make direct observation. Cultural Inheritance Process It needs an understanding and cooperation between the personal, the environment.
Kamase-Mase Value In The Pa’bitte Passapu Dance Performance of Kajang Ethnic Group of Bulukumba Regency, South Sulawesi Astuti, Andi Arie; Hartono, Hartono; Cahyono, Agus
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31391

Abstract

The Pa’bitte Passapu dance is one of the artistic heritages of the Kajangethnic group which is not well known yet by other people. The Kajangethnic group is anethnic group which is obedient to the content of pasang or a message called tallasa kamase-mase or simple life. Based on this background, the researcher focuses the research on the performance process and the kamase-mase value on the Passapu Pa’bitte dance performance. This study aims to analyze and describe the performance process and the kamase-mase value on the Passapu Pa’bitte dance. The method used in this study is qualitative with an interdisciplinary approach. Data collection techniques used are observation, interview, and document study. The validity technique used is triangulation, and the data analysis is done by reducing data, presenting data and drawing conclusions to obtain research data. The results of the study performance that the kamase-mase value in the Pa'bittePassapu dance performance still follows the rules in pasang (message), namely tallasa kamase-mase (simple life) contained in the clothing of dancers and musicians, the property of dancers and musicians, and the performance process the dance itself. The implication of this Pa’bitte Passapu Dance research for the Kajangethnic group is to preserve the Pa’bitte Passapu dance as an entertainment dance that still holds the rules that apply to the Kajang ethnic group.
Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri Zakiyati, Nur Muaffah; Cahyono, Agus; Syakir, Syakir
Catharsis Vol 9 No 1 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i1.39033

Abstract

The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
A Revitalization of Tandhakan Wedok Dance in Jatiguwi Village, Sumberpucung District, Malang Regency Prima, Empiri Tahya; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.39850

Abstract

Tandhakan Wedok Dance grows and develops in the Jatiguwi Village environment. This dance has already existed since 1930 and it does not know who its creator. However, the Tandhakan Wedok Dance was inactive in 1932-1990. Around 1990 the Tandhakan Wedok Dance was just remade by Mbah Madyo and Mbah Chatam. The purpose of this study is to describe, analyze, and interpret narratively about a revitalization of Tandhakan Wedok Dance by using an anthropological dance approach. This study is focused on the Tandhakan Wedok Dance, including the revitalization of the Tandhakan Wedok Dance with the research location of Jatiguwi Village, Sumberpucung District, Malang Regency. The techniques used for the data collection in this study are observation, interviews, and documentation. The results of the research are as follows: the stages of the revitalization process which consists of reformulating new views, communication, organization, adaptation, cultural transformation, and routines. The Tandhakan Wedok Dance presentation consists of movement, music accompaniment, make-up and clothing, and floor patterns. The Tandhakan Wedhok Dance movements are divided into elements of motion which are divided into four, consisting of elements of the head, hands, body, and feet. The motion motives consist of 25 motives of motion. The motion phases are divided into 20 phrases. Sentences of motion/ types of movements of the Tandhakan Wedok Dance namely stationary motion, various motor movements, and various connecting motion. Paragraphs or motion groups have three groups, namely gawang forward, core, gawang backward. 15 musical instruments used in the Tandhakan Wedok Dance. The makeup used is beautiful makeup and for fashion, namely cundhuk penthul, sunggar, jasmine flower, suweng, necklace, long cloth for dodotan, belt, sampur/ shawl, and jarik. There are nine floor patterns of the Tandhakan Wedhok dance.
NILAI BUDAYA DALAM PERTUNJUKAN RAPAI GELENG MENCERMINKAN IDENTITAS BUDAYA ACEH Verulitasari, Esti; Cahyono, Agus
Catharsis Vol 5 No 1 (2016)
Publisher : Universitas Negeri Semarang

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Abstract

Pertunjukan Rapai Geleng sebagai salah satu kesenian tradisi Aceh, merupakan hasil kesatuan antara agama dengan kebudayaan. Hal ini menjadikan Rapai Geleng bagian dari kehidupan masyarakat Aceh. Penelitian ini bertujuan untuk menganalisis dan memahami identitas budaya Aceh yang tercermin pada pertunjukan Rapai Geleng. Metode yang digunakan kualitatif dengan pendekatan Antropologi Budaya. Teknik pengumpulan data meliputi observasi, wawancara dan studi dokumen. Teknik keabsahan data menggunakan teknik triangulasi dan teknik analisis data yang digunakan mengikuti langkah analisis model interaktif. Hasil penelitian menunjukkan bahwa nilai-nilai budaya yang terkandung dalam pertunjukan Rapai Geleng, terbukti sebagai cerminan identitas budaya Aceh. Dari beberapa nilai budaya yang telah dijelaskan,sebagian masuk dalam faktor pembentuk identitas budaya berdasarkan kepercayaan, bahasa, dan pola prilaku. Sehingga dapat dikatakan bahwa nilai-nilai budaya yang terdapat dalam pertunjukan Rapai Geleng merupakan refleksi atau cerminan dari kehidupan masyarakat Aceh yang merupakan identitas budaya Aceh.
NILAI BUDAYA PERTUNJUKAN MUSIK TERBANGAN PADA MASYARAKAT SEMENDE Septiana, Opta; Sumaryanto, Totok; Cahyono, Agus
Catharsis Vol 5 No 2 (2016)
Publisher : Universitas Negeri Semarang

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Abstract

Terbangan sebagai musik pengiring nyanyian yang berisi tentang pujian kepada Nabi Muhammad Saw untuk mengingatkan dan memberikan nasihat yang baik kepada pelaku maupun penonton. Pertunjukan musik terbangan dikemas sesuai dengan aturan adat istiadat masyarakat Semende sehingga tercermin nilai-nilai budaya pada setiap aktivitas sebelum pertunjukan, pada saat pertunjukan dan setelah pertunjukan. Penelitian ini bertujuan untuk menganalisis dan memahami nilai budaya yang terkandung dalam pertunjukan musik terbangan pada prosesi pernikahan adat tunggu tubang masyarakat Semende. Metode yang digunakan pada penelitian ini metode kualitatif dan pendekatan Antropologi Seni. Sumber data pada penelitian ini menggunakan sumber primer dan sekunder dengan teknik perngumpulan data observasi, wawancara dan studi dokumen. Teknik keabsahan data yang digunakan yaitu triangulasi sumber sedangkan teknik analisis data dilakukan dengan cara mereduksi data, penyajian data, dan memverifikasi data. Hasil penelitian menunjukkan bahwa nilai-nilai budaya tercermin dalam pertunjukan musik terbangan tercermin ketika manusia berhubungan dengan lima aspek yaitu tuhan, manusia, alam, kerja dan waktu sehingga menghasilkan nilai religi, tanggung jawab, gotong royong, solidaritas, nilai ekonomi dan nilai cinta budaya. Hasil penelitian ini diharapkan dapat menjadi referensi masyarakat kedepannya.
Makna Simbolik Pertunjukan Linda dalam Upacara Ritual Karia di Kabupaten Muna Barat Sulawesi Tenggara Ardin, Ardin; Cahyono, Agus; Hartono, Hartono
Catharsis Vol 6 No 1 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17032

Abstract

Linda merupakan tarian tradisional suku Muna yang disajikan ketika puncak upacara ritual karia atau pingitan. Pertunjukan Linda juga sebagai ungkapan rasa terimakasih kepada para penonton yang telah membantu kelancaran acara, rasa syukur kepada para peserta karia yang telah melewati tahapan ritual yang begitu rumit dan sebagai simbol pembersihan diri bagi gadis-gadis karia atau pingitan. Penelitian ini bertujuan untuk mendeskripsikan makna simbolik pertunjukan Linda dalam upacara ritual karia di Kabupaten Muna Barat Sulawesi Tenggara. Metode yang digunakan kualitatif dengan pendekatan Antropologi Seni, Sosiologi Seni dan Pendidikan Seni. Teknik pengumpulan data meliputi observasi, wawancara dan studi dokumen. Teknik keabsahan data menggunakan teknik triangulasi dan teknik analisis data yang digunakan adalah melakukan interpretasi berdasarkan konsep pertunjukan, gaya, isi tarian, dan konsep interpretasi spesifik. Hasil penelitian menunjukan bahwa pertunjukan Linda mempunyai makna sebagai proses pendewasaan, pembersihan seorang gadis remaja dan sebagai simbol moral atau etika. Linda is the traditional dance in tribe Muna that serves in the peak of Karia ceremony. The performance of karia is to represent thankgiving to the spectators that has assisted the best performances, blessing toward karia actors who have decreased complicated steps in the ritual and as the symbol of ritual for the karia girls. This study aimed at describing symbolic meaning from performance of karia in District West Muna, Southeast Sulawesi. The method of this study was qualitative with art education approach. The techniques of collecting data were observation, interview, and documentary study. The triangulation used interpretation based on concept of performance, style, content of dance, and concept of specific interpretation. The result indicated that performance of Linda has the meaning as the process of maturation, ritual for girls, and as a symbol of ethics.
Co-Authors A, Heryanto AA Sudharmawan, AA Adi Prasetyo, Alfian Eko Widodo Adi, Brian Trinanda Kusuma Afwa, Mughny El. Agus Utomo Akhmad Rizqon Khamami Amsari, Uli Andri Pranolo ANGGRAINI, ERNA Arbi, Bahtiar Ardin Ardin, Ardin ARIF HIDAJAD Arista Pratama, Pande Putu Yogi Arisyanto, Prasena Arisyanto, Prasena Ary, Deasylina da Astari, Andi Tenri Juli Astuti , Yuli Tri Astuti, Andi Arie Astuti, Yuli Tri Atikoh, Alisahatun Bin Saearani, Muhammad Fazli Taib Bintang Hanggoro Putro Candra, Ronald Dewi, Asfarah Karina Dewi, Ikasari Minali Djuli Djatiprambudi Dwi Tiya Juwita Efrizal Eko Raharjo Eko Sugiarto Eny Kusumastuti Esti Verulitasari, Esti Evadila Evadila Fahruddin, Ari Irfan Fallah, Saiful Guntaris, Endik Hadinata, Vanda Hamyana Hapsari, Priska Diyan Hartono Hartono Hartono, Rudi HERA, TRENY Hosaini, Hosaini I Wayan Adnyana Ibnan Syarif, M Ida Zulaeha Ikha Sulis Setyaningrum Imran, Fitrya Ali Imran, Fitrya Ali Iryanti, Veronica Eny Jazuli, Jazuli Jazuli, Muhamad Julitasari, Putri Ajeng Wulan Kurniati, Fatia Kusumaningtyas, Chandra Dewi Lestari , Wahyu M Jazuli M. Jazuli Malarsih Malarsih Malarsih, M Muhammad Fazli Taib Bin Saearani, Muhammad Fazli Muhammad Jazuli Murtiyoso, Onang Nadia Sigi Prameswari Nike Suryani nirwanto, bagus Notosutanto Arhon Dhony, Nugroho Nur Sahid Opta Septiana, Opta Oriana Tio Parahita Nainggolan Pahlawi, Lukman Ahmad Imron Pantjawati Sudarmaningtyas Pratama, Pande Putu Yogi Arista Prima, Empiri Tahya Rahmi, Ainu Rohman, Fadlur Saputra, Dani Nur Saragih, Febi Ariani Setyaningrum, Gus Miyana Nela Solly Aryza SUHARTO Suharto Suharto Sularso Sularso, Sularso Sumasno Hadi Sunarto Sunarto Suparti Suparti suryaningrum, Feradilla anggun Suwardi Suwardi Syah Sinaga, Fajry Sub'haan Syahrul Syah Sinaga syakir syakir Syarif, M. Ibnan Taqi, Ahmad Yazid Teguh Teguh Tjetjep Rohendi Rohidi, Tjetjep Rohendi Totok Sumaryanto, Totok Udi Utomo Vivine Nurcahyawati Wadiyo Wadiyo Wahyu Lestari Wandah Wibawanto Widodo Widodo Yanti, Meipur Zairani, Ero Siska Zakiyati, Nur Muaffah